




























































Copyright, 1914 
by 

THE A. N. PALMER CO. 


MAY 22 1914 


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DEDICATION 


W ILLIAM E. DENNIS and I were pupils together in the Gaskell, Bryant & Stratton Business 
College of Manchester, New Hampshire. We were then in our teens, and to our youthful minds 
nothing else in the world was quite so important or beautiful as ornate penmanship. 

No matter how hot the weather, no matter how luring the outdoor with its swimming pool, trees 
and flowers, young Dennis and I, from choice, would climb to the fourth floor of the business block in 
which Gaskell kept school, and revel in the fascinating compound curves, shades and hair-lines that made 
up the anatomy of birds, which had neither home nor ancestry. 

My boy friend and chum, “Bill” Dennis, was grace personified in all his manipulations of the pen. 
I was the opposite. The strokes I made lacked symmetry and grace. When practicing in my room, 
seeing only my own work, and having none of my boy friend’s penmanship to contrast with it, I frequently 
thought I was doing beautifully. All I had to do, however, to reduce my pride and satisfaction to the 
ashes of a dead hope, was to go to Dennis’s room and contrast my work with what he had been doing at 
the same time. 

Frequently, during that hot summer, Dennis would write a dozen cards which had been ordered; 
we would deliver them, and with the twenty-five cents thus obtained would buy a watermelon. Young 
Dennis was generous then; he is generous now. He has always been free-hearted, and his purse often has 
been opened too widely for his own good. 

I long ago gave up the race for supremacy in this branch of penmanship and turned my attention 
to the plain, unshaded, coarse pen style, which I believe everyone should learn. Had my muscles been as 
supple, my eye as true, and my hand as steady as were those of William E. Dennis, I might at this time 
be dividing honors with him. 

I believe that every penman who turns the following pages will be willing to join me in proclaiming 
William E. Dennis the most expert ornate penman of the world. Perhaps there will never be another 
penman with the same artistic nature and the same ability and patience that has been displayed by him. 
He is the king of ornate penmanship. 

Because of our old friendship, I am deeply grateful for this opportunity of preserving to posterity 
some of the very finest of Mr. Dennis’s gems of pen-art made when he had reached the height of his skill. 
I dedicate the following pages to all lovers of the beautiful in penmanship. 



3 






The object of this book is to furnish models and suggestions to those interested in pen work. All 
the plates (photo-engraved) are facsimiles of the original work, but the photographic process does not 
always produce lines so fine and delicate as those executed with pen and ink. 

There is an increasing demand for skilfully executed penwork, and our aim is to put forth some¬ 
thing practical as well as ornamental—the kind for which there is a market; and the greater part of the 
lettering in this book is of the sort generally used by professional engrossers. 

The flourished designs are for those who especially admire that branch of work and take pleasure 
in doing it. While it is highly important for the student in pen-art to study that which he can turn to 
profit, there is no harm in a little indulgence in the fantastic kind which simply pleases the eye and gratifies 
the taste. Some, no doubt, will enjoy trying their skill at these fanciful designs without losing sight of 
the commercial side. 

Many take great delight in making beautiful designs simply to exercise their artistic ability, and 
for this class the exercises for free-hand work have been added. 

Instructors in penmanship, devoting their teaching time mainly to business writing, will find 
pleasant relaxation in an occasional departure into the ornamental field. The traveling teacher of pen¬ 
manship always finds ornamental work an effective means of advertising his classes, since he can often 
attract special attention to his calling by his graceful designs with the pen or with chalk, or by exhibition 
of his work, neatly framed, in conspicuous places. 

It is hoped that this book will appeal to teachers of practical business writing, letterers, art engross¬ 
ers, and penmen doing all classes of ornate penwork. 



357 Fulton St., Brooklyn, N. Y. 


4 






Lettering properly may be classed as a practical art. Almost everywhere in civilized countries 
there is a demand for some kind of lettering. One who becomes expert in this line can generally find 
employment. 

The lettering in this book is intended mainly for penmen and art engrossers, and the aim has been 
to present something practical—the kind of lettering which is in daily demand. There is a great deal of 
lettering done by penmen which is almost useless so far as financial profit is concerned. 

Most lettering by professional art engrossers has to be done very rapidly and at the same time 
effectively. Therefore, let him who wishes to follow this line of work keep in mind that speed is a very 
essential thing. But speed does not come first. Let the student aim for quality at the beginning, 
striving to acquire style, elegance and character, and as he advances he will find that practice enables him 
to work faster and with greater ease and freedom. 

In this book will be found several kinds of rapid text lettering—just the kinds for commercial 
purposes. They are reproduced as the pen made them, without retouching, and for that reason have not 
the finish and perfection which would be the result of more time and labor. 

The Roman alphabet, while one of the most useful, and the foundation of many kinds of lettering, 
was omitted for the reason that it can be found everywhere, and there is no trouble generally to procure 
good models of Roman alphabets. It is well that every one who wishes to become skilled in lettering 
should master this particular alphabet, since it is the basis of many other styles. 

Of all the lettering which penmen and art engrossers are required to do, text lettering, no doubt, 
has the widest range. The different styles, types and variations of lettering which can be done with a 
broad-pointed steel or quill pen are almost infinite. The ease and rapidity with which such work can 
be done make it the most pleasing, satisfactory and profitable of penwork. 

There are many avenues through which this work finds a demand—diploma filling, resolutions, 
signs, show cards, legal documents, etc.—all of which must often be done by a skilled hand. 


5 





GERMAN TEXT 

This is a beautiful alphabet of graceful curves, but is not quite so legible and dignified as Old English; 
is rapid of execution, and is especially valuable for filling diplomas, etc. It is less mechanical than Qld 
English, being made up almost entirely of curves. The pen manipulation is much the same, and if a person 
can make Old English he can soon learn to make German Text, or vice versa. It is a question which is the 
more difficult; there is little difference, although German Text can be done with the greater speed. Grace is 
its characteristic feature; to get this leading quality it is highly important to make it in as off-hand a 
manner as possible. As in off-hand script writing, a certain freedom in execution is necessary, and a 
labored effort reveals itself at once in the work. 

A clear conception of the letter, as in Old English, is of great importance, for the hand will try 
to make what the fancy dictates. Study the letter therefore, learn it thoroughly, and train the eye to 
be so critical that it will at once detect any fault made by the hand. Practice, and practice only, will 
make one expert. 

In this alphabet the aim is to produce graceful models, but no claim is laid to perfection. The 
student should not be satisfied with the study of just one alphabet. Study all the good forms you can 
obtain, ever remembering there is more than just one particular way to make a letter, also that no 
alphabet can be said to be absolutely perfect and beyond criticism. 


6 





7 








This is a very satisfactory kind of lettering, because it can be done with ease and rapidity. When 
decorated with neat flourishing, the effect is very pleasing. 

Rapid German Text is the least mechanical of all lettering. Old English can be done with good 
effect in a slow labored manner. German Text, however, from the off-hand easy manner in which it 
should be treated, is quite the reverse, having the best appearance when done freely with no retouching. 
This free-hand treatment gives a snap and grace to the letters, which cannot be secured in a laborious 
manner, just as off-hand capitals in penmanship have life and grace, which a slow movement cannot produce. 

The broad-pointed turkey-quill pen, owing to its sharpness of edge when cut just right and to 
its extreme width, seems to be the best of all implements for this particular letter. The quill has a certain 
touch and quality that no steel pen possesses; and when it is in good order, the rapidity with which this 
style of lettering can be done is quite surprising. It is considerably easier and more rapid to execute than 
Old English, as it is made up almost entirely of curves, and does not require the same precise movement 
as Old English. 

There are good letterers who seem to make a failure of German Text by distorting the forms almost 
to illegibility. This is especially true of the capitals. Particular attention must be given to form, to 
make the letters clean cut and regular, well proportioned, and well spaced. 








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The German Text on page 41 can be made with a broad quill and diluted India ink; then with a 
narrow quill the black edges can be put on after the diluted ink is thoroughly dry. This letter, though 
it requires twice going over, is quite rapid and very effective for certain kinds of engrossing. 

MATERIALS 

Soennecken pens, turkey quills and reeds are used for text lettering. The best is that which you 
can use best. Most engrossers use the Soennecken pen, probably because it is easier to obtain, but others 
think there is nothing like a turkey quill. The trouble is in preparing a quill and keeping it in order. 
First procure the quills (those from the wing), then clip off the feathery part, cut off the end of the 
barrel and soak well in water, then improvise some kind of vise in which the quill should be placed for 
flattening. Leave it in this condition until it is dry. With a sharp knife cut it down into the shape 
of a broad pen and split it like a Soennecken, taking care not to split too far, as it would spread too much. 
There is a knack which comes only by experimenting in making this kind of a pen, but after this knack 
is acquired and a quill prepared just right, it works like a charm. By using a large turkey quill, well flat¬ 
tened out, a pen can be made a quarter of an inch or more in width, which is much wider than any steel 
pens are made for such work. 

India ink is generally best liked, although Chinese ink is about as good, and some prefer it. Japan 
ink (Walkden’s or Arnold’s) is also good, and some use it altogether; but the waterproof inks are generally 
hard to manage, especially by those inexperienced in this line of lettering. 


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In the accompanying specimen of Old English more attention was given to speed than to careful 
finish. This alphabet was made without retouching, and a fine-pointed pen used only for the few hair¬ 
lines. It maybe called off-hand lettering, since no pencil outlines were used and each part of a letter was 
made with a single stroke of the broad-pointed quill pen. 

When done in this rapid manner, Old English cannot, of course, show the accurate finish it does 
when first outlined in pencil and then carefully lined with a fine-pointed pen. But the speed with which 
it can be done makes it far more practical than the alphabet on page 43, where a great deal of time was 
spent in designing and finishing. 

The aim in this alphabet was to produce something just as simple and rapid as possible, omitting 
all unnecessary embellishment and grace lines. It is not easy to make Old English rapidly and at the 
same time give it a finished appearance. Use a quill pen well flattened out and cut in the right manner, 
or a Soennecken steel pen, if preferred. A thorough knowledge of the letter is necessary, so that no sketch¬ 
ing in pencil is required—a firm control of the hand does the rest. Some of the capitals in Old English 
are especially difficult, and when done in an off-hand manner they can be modified to some extent to suit 
the occasion. Certain forms of capitals cannot be well made in this rapid manner; therefore it would be 
well for the student to make a careful comparison of these two alphabets and note wherein it is an 
advantage to modify certain parts of letters. 

There are many who can make Old English in a slow mechanical way—that is, by first drawing 
the letter in pencil, outlining it and then filling it in; but whoever wishes to make it profitable will find 
this method a failure. 

Nearly all Old English executed by professional engrossers in filling diplomas and body text in 
resolutions and similar work is done rapidly. It is therefore desirable for the student to give as much 
attention as possible to this rapid style of Old English. Study the forms and acquire the knack of using 
the pen skilfully and rapidly. 


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WRITTEN WITH DIFFERENT PENS, BUT BY THE SAME HAND 


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A very practical style of penmanship is Shaded Script. Much of the art engrosser’s work includes 
this bold effective kind of writing. Policies, diplomas, wills, deeds, etc., are often written in this style. 

The examples given herewith are to quite an extent off-hand work, such as the capitals, but for 
the small letters a strong, steady finger movement is required. What is known as the “muscular move¬ 
ment” is not suitable for the small letters in this kind of writing, although it can be applied to the capitals, 
or the whole-arm movement. This bold Shaded Script cannot be done with any great speed; excepting 
the off-hand capitals, it is executed with a rather slow deliberate movement, the pen being raised whenever 
convenient. It requires much practice in order to produce good, strong shades, regularity and a pleasing 
uniform appearance. 

A flexible pen, straight holder or oblique, good black ink, such as Arnold’s Japan and Fluid mixed, 
David’s, or Walkden’s Japan mixed with fluid ink, also India ink, when not too thick, are the things to work 
with. There are so many kinds of pens that it is not advisable to recommend any particular make. The 
student should determine which produces the best results. Most penmen who excel in this style of writing 
prefer a pen quite flexible, fine-pointed and durable. 


34 




OFF-HAND WORK DONE WITH THE WHOLE-ARM MOVEMENT 
THE FINGER AND WRIST MOVEMENTS ARE GENERALLY EMPLOYED IN THIS STYLE OF SCRIPT 











37 
























































QUILL PEN LETTERING, WITH DILUTED INDIA INK AND FINISHED WITH BLACK INK 


41 





























This is one of the most beautiful and useful of all alphabets, and, no doubt, one of the most diffi¬ 
cult. There are several ways of making it. To pencil the letter carefully, outline it with ink, and then 
fill in, is a decidedly amateurish way for general Old English lettering. A better way, after laying out 
the letter carefully in pencil, is to rule in all the straight strokes with a pen as wide as the strokes of the 
letter, then put on the diamonds, curves, etc.—using a fine pen, of course, for the hair-lines and retouch¬ 
ing. This, while all right for finished work, is slow. The practical way to make Old English is simply 
to locate the letters with a pencil, then with the broad pen or quill, corresponding in width to the letter, 
clip them out at one stroke, putting on the spurs usually with a narrower pen. This is a quick, effective, 
although difficult, way to turn off Old English. As much retouching and trimming up may be done after¬ 
wards as is desirable, but in lettering for profit it should be the aim to make the different parts of the letters 
with one stroke and not use valuable time in endless retouching and truing up. 

In this specimen an effort was made to produce as perfect an alphabet as possible to serve as a 
model of good forms; but an absolutely perfect alphabet cannot be made and probably never will be, 
for what would seem perfect to one, according to his conception of the letter, would not be so in the eyes 
of another of equally good taste and skill. This being the case, then, the best way is to study all good 
Old English alphabets, and select the particular things you like best. In this manner one does not become 
a mere imitator, but developes a style and individuality of his own. 

In the alphabet on the following page each letter was penciled out very carefully, and then with 
a broad quill pen the letters were made in ink. After that considerable time was spent in lining up and 
retouching where there appeared any chance for improvement. This mode of procedure, as before stated, 
is not a practical way to do Old English; but it may be well enough for practice, to train the eye and 
acquire as good a conception of the letter as possible. 


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Most of the rustic lettering herewith, being very quickly made, will be found quite practical to 
the engrosser, where an effect is desired with as little work as possible. 

A very rapid and very easy rustic letter is made by just simply indicating it with a pencil, then 
freely washing in the characters with a brush and diluted India ink. The more quickly the washing is done 
the better the effect. Then with a broad pen put around the dark shade, following the general outline of the 
letter. After this, cross-lines are laid in with ink—black or nearly black—then branches are added here and 
there to give it a still more rustic look. This is a surprisingly rapid letter, and in certain styles of engrossing 
is very effective, giving the impression of a great deal more work than there really is. 

There are many ways of treating this letter, a few examples of which are submitted. These different 
styles, combined with text lettering and script, can be executed with such ease and speed that the engross¬ 
ing artist will find them of inestimable value where time is a consideration, with results pleasing and 
satisfactory. 


52 





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This is a very elegant and beautiful letter for elaborate pieces of engrossing. It is not the most 
difficult, though rather slow of execution; therefore it is net used so much as other alphabets. It can be 
treated in many ways, and affords great sccpe for variations and ornament. 

As a rule it is quite necessary to sketch this letter rather carefully in pencil, especially where con¬ 
siderable ornament is used. When tinted with a brush, it is well to use waterproof inks (Higgins’s is good) 
for all outlines. Put in all the line-work first, carefully giving shape and character to the lettering, then 
the wash-work comes next. 

It is rather difficult to give a good effect to this letter by working it up entirely with the pen; the 
brush, therefore, is the best medium for handling it successfully. The alphabet presented on the following 
page was done on a rather dark-gray Bristol board, a brush being employed to lay on the color, which was 
Payne’s Gray mixed with India ink, the high lights being put on last of all with Chinese white. Gray Bristol 
board is an excellent thing for this kind of lettering, using Payne’s Gray mixed with lampblack or India ink. 

Beautiful effects can be produced on gray Bristol board when doing elaborate pieces of engrossing, 
and no richer, handsomer letter than the Sickels can be found for head-lines where extra display is necessary. 

This letter harmonizes beautifully with the Roman, Block, Old English, and Engravers’ Script. It 
also affords an excellent opportunity for working in around it fine brush designs such as lilies or other 
flowers, leaves, etc., all of which blend harmoniously. 


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The conventionalized acanthus leaf is the basis of most ornament. It is, therefore, very necessary 
for the engrossing artist to make a study of this beautiful leaf, and become familiar with its structure 
and the different ways in which it is treated. It is not intended here to go into this particular branch of 
ornament to any great extent, but rather to impress upon students its importance and to suggest a way of 
becoming familiar with it. If not convenient to attend a drawing class in historic ornament, by all means 
secure, if possible, a few good casts and draw from them. A cast of the full leaf (see large one on page 67 
drawn from a cast) will prove an excellent model. This should be drawn and redrawn until the student 
can make a fair copy from memory, when other casts should be studied with the view of seeing how the 
leaf is changed into an infinite variety of designs and scrolls. After sufficient practice of this kind, one 
finds himself able to make variations and designs of his own. To copy designs made by others is not 
practical, and does not give that thorough knowledge obtained by going to the foundation and studying 
the principles of the leaf structure. 

The student will be surprised to see how much this leaf is used for ornament and how we may 
trace its elements and observe the endless ways in which it can be handled. It is found on fine buildings, 
furniture, picture-frames, and in many places where ornament is used. He who has given it special atten¬ 
tion will see things in it which were passed unnoticed before its derivation was learned. 

Most of the scrollwork in this book was derived from the conventional acanthus leaf. This may 
easily be seen by comparing the scrolls and forms with the large leaf in the center of page 67. 


66 






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NOVEMBER 19,18 63 


S our score and seven \jears ago our fathers broughtforth an this continent a new riATIOft 
conceived in liberty and dedicated to the proposition tliat all men are created equaf. ^cow 
UN are engaged in agreat ctvifwar, testing whether that nation, or airy nation, so conceived 
and so dedicated, cun frng endure. 'We are met on a great battkftefd oTthat war. We 'have 
come to dedicate a portion of that tiefd as afinafresting pfacetor those who here glttfr tltfir 
liDt*S thattfiat nation might live. 3t is aftogetbeffiiting and proper dhatwc shoufd do this. 


litis pimii. (Dtc hum . 1 nun. tUrtug anb i>c<tti. u)hu struiiiilfii liro. have amsc- 
rrnlfii il far ubuue mir poma: tn nr fiririul. (Du 1 umrti) mill little nan*, unr 

lomirmnnlifr.Toliiillwe stn; hw. bill it can neoer fonjtrt rolnil llifp Mil lint 

.It is tor us.tke fivincj, rather to he dedicated here to the unfmi$h<& work which they mho 
fought here have thus far so nobly advanced. Dt is rather for us to he here dedicated 
to the great task remaining before as, jhat from these honored deadline take, increased 
devotion to that cause forwhich they gave the fast fuff measure ofdevotion ; - that we 
here highfy resofve that these dead snarf not have died in vain ? that this nation.;under 
~ (Sttif, shaff have a new birth of freedom,~and that_ 

lUnimtinnit itfthcpfople. bgthejmqikftrlhcjitoplf 





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Nothing in the line of ornamental penwork is more fascinating than Off-hand Flourishing. The 
ease and rapidity of its execution, the grace and harmony of its curves, following each other in such quick 
succession, forming some beautiful design—a bird in the nest, a swan, an eagle, or some other graceful 
object—make a charming and interesting pen performance. It is doubtful if anything in penwork requires 
more real skill, sureness of stroke, delicacy of touch and absolute freedom of arm and hand than Off-hand 
Flourishing. Certainly none of the other work in this book offers the technical difficulties found in the 
flourished designs, the most difficult of all being the two swans facing each other on page 29 . 
Lettering is more or less mechanical, but flourishing is quite the opposite. In this work the mind must 
conceive quickly the arrangement of harmonious, well-balanced curves, and the hand must reproduce 
them without hesitation. In addition to this, the penman should have in mind some harmonious design, 
pleasing in effect as a whole. As in all artistic work, design and composition are the essentials, and 
skilful strokes without artistic arrangement will not be attractive. 

A great amount of practice is necessary to train the hand for this kind of work, as it must be done 
with dash and freedom to produce the right effect. An element of uncertainty in flourishing gives it some¬ 
what of a kaleidoscopic character, it being almost impossible to make so rapidly two designs exactly alike. 

There is a wonderful charm about graceful lines and harmonious curves. What harmony of 
sound is to the ear, grace and harmony of curves are to the eye, and it is not surprising that 


76 




77 





some see great beauty in a fine piece of off-hand flourishing, with design, grace, proportion and 
symmetry all combined. 

But graceful and unique as this department of pen work is, it has but little utility, except in an 
indirect way. It is, of course, quite indispensable to the engrossing artist; it is a fine training for the 
hand and gives it great facility for executing other work. Where considerable text lettering is used it will 
be found valuable for embellishment. Fifteen minutes devoted to tasteful and appropriate flourishing 
will often add fifty per cent, to the appearance and worth of a piece of engrossing. 

It is suggested that the penman who wishes to make his work profitable acquire at least sufficient 
skill in flourishing to decorate his text lettering in an effective manner, and it may be well to add that 
the defects in lettering, the natural result of working very rapidly, are far less noticeable when surrounded 
with appropriate flourishes. 

Hold the pen between the first two fingers and thumb, or between the thumb and first finger, 
sit in an easy position and endeavor to give the arm entire freedom. 

Nearly all the strokes are from left to right, although the pen may be held as in writing when it is 
an advantage. Too much hesitation in movement is likely to produce feeble and irregular strokes, while 
a bold, free and apparently careless movement of the arm produces strong, regular and graceful lines. 
It is easier to put on too much than not enough; every stroke either adds or detracts from a design, and 
it is as important to know when to stop as what to do. Never overload a design with ornament. Sim¬ 
plicity is usually more elegant than elaboration, therefore ornaments should be used sparingly, and always 
with taste and judgment. 


78 




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